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Department of Film & Media Studies Hunter College
Department of Film & Media Studies Jeremy S. Levine Hunter College - CUNY 26 Halsey St., Apt. 3 695 Park Ave, Rm. 433 HN Brooklyn, NY 11216 New York, NY 10065 Phone: 978-578-0273 Phone: 212-772-4949 [email protected] Fax: 212-650-3619 jeremyslevine.com EDUCATION M.F.A. Integrated Media Arts, Department of Film & Media Studies, Hunter College, expected May 2020 Thesis Title: The Life of Dan, Thesis Advisor: Kelly Anderson, Distinctions: S&W Scholarship, GPA: 4.0 B.S. Television-Radio: Documentary Studies, Park School of Communications, Ithaca College, 2006 Distinctions: Magna Cum Laude, Park Scholarship EMPLOYMENT Hunter College, 2019 Adjunct Assistant Professor, Department of Film & Media Studies Taught two undergraduate sections of Intro to Media Studies in spring 2019, averaging 6.22 out of 7 in the “overall” category in student evaluations, and teaching two sections of Intro to Media Production for undergraduates in fall 2019. Brooklyn Filmmakers Collective, 2006 – Present Co-Founder, Advisory Board Member Co-founded organization dedicated to nurturing groundbreaking films, generative feedback, and supportive community. Recent member films screened at the NYFF, Sundance, and Viennale, broadcast on Showtime, HBO, and PBS, and received awards from Sundance, Slamdance, and Tribeca. Curators from Criterion, BAM, Vimeo, The Human Rights Watch Film Festival, and Art 21 programmed a series of 10-year BFC screenings at theaters including the Lincoln Center, Alamo, BAM, and Nitehawk. Transient Pictures, 2006 – 2018 Co-Founder, Director, Producer Co-founded and co-executive directed an Emmy award-winning independent production company. Developed company into a $500K gross annual organization. Directed strategic development, secured clients, managed production teams, oversaw finances, and produced original feature films. -
National Endowment for the Arts Annual Report 1990
National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................ -
Emindanao Library an Annotated Bibliography (Preliminary Edition)
eMindanao Library An Annotated Bibliography (Preliminary Edition) Published online by Center for Philippine Studies University of Hawai’i at Mānoa Honolulu, Hawaii July 25, 2014 TABLE OF CONTENTS Preface iii I. Articles/Books 1 II. Bibliographies 236 III. Videos/Images 240 IV. Websites 242 V. Others (Interviews/biographies/dictionaries) 248 PREFACE This project is part of eMindanao Library, an electronic, digitized collection of materials being established by the Center for Philippine Studies, University of Hawai’i at Mānoa. At present, this annotated bibliography is a work in progress envisioned to be published online in full, with its own internal search mechanism. The list is drawn from web-based resources, mostly articles and a few books that are available or published on the internet. Some of them are born-digital with no known analog equivalent. Later, the bibliography will include printed materials such as books and journal articles, and other textual materials, images and audio-visual items. eMindanao will play host as a depository of such materials in digital form in a dedicated website. Please note that some resources listed here may have links that are “broken” at the time users search for them online. They may have been discontinued for some reason, hence are not accessible any longer. Materials are broadly categorized into the following: Articles/Books Bibliographies Videos/Images Websites, and Others (Interviews/ Biographies/ Dictionaries) Updated: July 25, 2014 Notes: This annotated bibliography has been originally published at http://www.hawaii.edu/cps/emindanao.html, and re-posted at http://www.emindanao.com. All Rights Reserved. For comments and feedbacks, write to: Center for Philippine Studies University of Hawai’i at Mānoa 1890 East-West Road, Moore 416 Honolulu, Hawaii 96822 Email: [email protected] Phone: (808) 956-6086 Fax: (808) 956-2682 Suggested format for citation of this resource: Center for Philippine Studies, University of Hawai’i at Mānoa. -
T H E P Ro G
Friday, February 1, 2019 at 8:30 pm m a r Jose Llana g Kimberly Grigsby , Music Director and Piano o Aaron Heick , Reeds r Pete Donovan , Bass P Jon Epcar , Drums e Sean Driscoll , Guitar h Randy Andos , Trombone T Matt Owens , Trumpet Entcho Todorov and Hiroko Taguchi , Violin Chris Cardona , Viola Clarice Jensen , Cello Jaygee Macapugay , Jeigh Madjus , Billy Bustamante , Renée Albulario , Vocals John Clancy , Orchestrator Michael Starobin , Orchestrator Matt Stine, Music Track Editor This evening’s program is approximately 75 minutes long and will be performed without intermission. Please make certain all your electronic devices are switched off. Lead support provided by PGIM, the global investment management businesses of Prudential Financial, Inc. Endowment support provided by Bank of America This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall American Songbook Additional support for Lincoln Center’s American Songbook is provided by Rita J. and Stanley H. Kaplan Family Foundation, The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Great Performers Circle, Lincoln Center Spotlight, Chairman’s Council, and Friends of Lincoln Center Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center Artist catering provided by Zabar’s and Zabars.com UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM: Saturday, February 2 at 8:30 pm Rachael & Vilray Wednesday, February 13 at 8:30 pm Nancy And Beth Thursday, February 14 at 8:30 pm St. -
Partners Handbook 2020/2021 Season
The cast of Cambodian Rock Band; photo by Jim Carmody. Partners Handbook 2020/2021 Season Mission Statement La Jolla Playhouse Partners shall: Promote La Jolla Playhouse Donate time and services to the Playhouse Strengthen Playhouse ties with the community by participating in special projects of the Playhouse and community TABLE OF CONTENTS 1. HISTORY OF LA JOLLA PLAYHOUSE ............................................................................................................................. 3 2. GENERAL INFORMATION ........................................................................................................................................... 4 2.1 Additional Benefits ...................................................................................................................................... 5 2.2 Partners Board ............................................................................................................................................ 5 2.3 New Member Services ................................................................................................................................. 7 2.4 Name Badges .............................................................................................................................................. 7 2.5 Ticket Opportunities .................................................................................................................................... 7 2.6 Volunteer Hours ......................................................................................................................................... -
Sample Chapter
Copyrighted material – 9781137270955 Contents List of Illustrations vii Acknowledgements ix Introduction 1 PART I Reading Texts Chapter 1 ‘A Tale as Old as Time’: Narrative Theory 9 Chapter 2 ‘A Man Who Can Interpret Could Go Far’: Semiotics and Semiology 26 Chapter 3 ‘Razzle Dazzle ’em’: Performance Studies, Reception Theory and the Epic Musical 44 Chapter 4 ‘Life Is a Cabaret’: Cultural Materialism 61 PART II Interpreting Contexts Chapter 5 ‘You’ve Got to Be Carefully Taught’: Orientalism and Musical Theatre 79 Chapter 6 ‘I Wanna Be a Producer’: Globalization, Capitalism and Consumerism 97 Chapter 7 ‘What’s the Buzz?’: Meta-narratives and Post-linearity 115 PART III Performing Identities Chapter 8 ‘Marry the Man Today’: Feminism and the Performance of Identity 135 Chapter 9 ‘The Bitch of Living’: Youth Cultures, Power and Sexuality 152 Chapter 10 ‘I Am What I Am’: Sexuality and Queer Theory 169 v Copyrighted material – 9781137270955 Copyrighted material – 9781137270955 vi CONTENTS PART IV Rethinking Relationships Chapter 11 ‘It’s the Last Midnight’: Playing with Time and Space 187 Chapter 12 ‘I’m Just a Broadway Baby’: Intertextuality in Music and Lyrics 202 Chapter 13 ‘Dreamgirls Will Make You Happy’: The Pleasures of Voice and Body 217 Chapter 14 ‘Make ’em Laugh’: The Politics of Entertainment 233 Notes 249 Bibliography 252 Index 263 Copyrighted material – 9781137270955 Copyrighted material – 9781137270955 Introduction It can be diffi cult to know where to start exploring musical theatre. ‘Start at the very beginning’, someone once said – very sensibly, no doubt. But Maria didn’t really give any of us a proper handbook for getting to grips with the wonderful world of the musical. -
Jose Maria Sison and the Philippine Revolution: a Critique of an Interface1
Jose Maria Sison and the Philippine Revolution: A Critique of an Interface1 P. N. ABINALES On December 26, 1968, Jose Ma. Sison a.k.a Amado Guerrero met with ten of his trusted disciples to establish the Communist Party of the Philippines (CPP) along the lines of Marxism-Leninism-Mao Tse-Tung Thought. Since then, Philippine radicalism long thought to be politically dead after the debacle of the Huk Rebellion has experienced a resurgence that was unprecedented in the national context. Much of the CPPs political growth, especially in the crucial initial stages, was largely attributed by many to Sisons leadership. He is said to have guided the revolutionary movement through its baptism of fire under the harsh conditions brought about by martial law. His arrest and nine-year solitary confinement did not break him. Rather, the movement continued to grow despite most of its original leaders death or capture (including Sisons) to become one of the most enduring revolutionary opposition in the country and the region.2 It is this feat that has placed Sison among the ranks of important figures in Philippine politics. Apart from being the founder of the CPP, Sison is regarded by admirers also as teacher and student activist He is the author of Philippine Society and Revolution (PSR), the acclaimed bible of the revolution. During the height of the First Quarter Storm, students were openly declaring their fealty to Amado Guerrero and his revolution. At the University of the Philippines (UP), student activists even renamed one building after the CPP chairman. Revolutionary songs, both serious and jesting, hailed Guerrero as one of the inspirations of the new revolutionary upsurge.3 During the early martial law period, Sison was one of the most wanted political figures by the dictatorship (the others being Kumander Dante and Victor Corpuz), the latter believing that his capture or death would destroy the CPP-ML.4 And in the time of Aquino, he continued to be grudgingly respected both in the positive and negative sense. -
On State Power, Queer Aesthetics & Asian/Americanist Critique
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2016 Dislocating Camps: On State Power, Queer Aesthetics & Asian/ Americanist Critique Christopher Alan Eng The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1240 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] DISLOCATING CAMPS: ON STATE POWER, QUEER AESTHETICS & ASIAN/AMERICANIST CRITIQUE by CHRISTOPHER ALAN ENG A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 CHRISTOPHER ALAN ENG All Rights Reserved ii Dislocating Camps: On State Power, Queer Aesthetics & Asian/Americanist Critique By Christopher Alan Eng This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _______________ ____________________________________________ Date Kandice Chuh Chair of Examining Committee _______________ ____________________________________________ Date Mario DiGangi Executive Officer Supervisory Committee: Eric Lott Robert Reid-Pharr Karen Shimakawa THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT DISLOCATING CAMPS: ON STATE POWER, QUEER AESTHETICS & ASIAN/AMERICANIST CRITIQUE by Christopher Alan Eng Advisor: Kandice Chuh My dissertation argues that the history of Asian racialization in the United States requires us to grapple with the seemingly counterintuitive entanglement between “the camp” as exceptional space of biopolitical management and “camp” as a performative practice of queer excess. -
PRESS RELEASE (858) 228-3094 | [email protected]
Contact: Becky Biegelsen PRESS RELEASE (858) 228-3094 | [email protected] LA JOLLA PLAYHOUSE ANNOUNCES HUNDRED DAYS, THE BENGSONS’ “LUMINOUS MUSICAL MEMOIR,” AS FINAL PRODUCTION OF 2018/2019 SEASON RUN DATES SET FOR FULL SEASON SLATE La Jolla, CA – La Jolla Playhouse announces Hundred Days, book by The Bengsons and Sarah Gancher, music and lyrics by The Bengsons, directed by Anne Kauffman, and movement direction by Sonya Tayeh, as the final production of its 2018/2019 season, to run September 22 – October 21 in the Mandell Weiss Forum. Dubbed “a luminous musical memoir” and a Critic’s Pick by The New York Times, Hundred Days is an exhilarating and heartrending autobiographical piece, written and performed by husband-and-wife team Abigail and Shaun Bengson, about embracing uncertainty, taking a leap, and loving as if you only had a hundred days to live. With their magnetic chemistry and unique musical style, the Bengsons explore the fundamental question of how to make the most of the time you have. “This deeply honest and life-affirming show is a terrific addition to the 2018/2109 season,” said Playhouse Artistic Director and 2017 Tony Award winner Christopher Ashley. “I’m always looking for vibrant and distinct new voices – as well as unique ways of storytelling – and the Bengsons speak to both these aims, culminating in a singular piece of theatre that defies genres. I can’t wait to share with our audiences.” Hundred Days joins the previously-announced 2018/2019 season productions of The Squirrels (June 5 – July 1), queens (July 3 – 29), Seize the King (August 21 – September 16), The Year to Come (December 4 – 30) and Diana (February 19 – March 31, 2019). -
Rumor: Britney Spears Could Be Engaged After Her Tour Ends
Rumor: Britney Spears Could Be Engaged After Her Tour Ends Apparently three times really may be the charm in this case. Britney Spears may be walking down the isle with her boyfriend and manager, Jason Trawick. Rumor has it that when Spears wraps up her Femme Fatale tour, Trawick will finally pop the big question after years of dating. According to RadarOnline, Spears is under a conservetorship, which simply means her father is in charge of her financial assets and well being. If Spears decides to get married, her father’s lawyer will have to sign off on the union. Spear’s family and two sons, Sean Preston and Jayden James, love Trawick and can’t wait for him to join the family. How do you know when to pop the question? Cupid’s Advice: Proposing can be nerve racking, no matter how long you’ve been dating your partner. Fear of rejection and long time commitment can put an engagement on hold. Here are some ways to know you’re ready: 1. Family: If your family is crazy about your partner, then he or she is likely a keeper. Do either of you have children? If you have already begun to raise kids as a team, it might be time to make it official. 2. You find yourself looking at rings: Talking about marriage and kids is one thing, but actually window shopping or surfing the net for a ring may mean that your ready to take the next step in your relationship. 3. Commitment: An engagement means a commitment to each other, and the ring lets other men and women know that your partner is happily taken. -
In the Transition from Stage to Arena, Live Music Is Remade
Intimate live girls Halligan, B Title Intimate live girls Authors Halligan, B Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/33518/ Published Date 2015 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Intimate Live Girls Benjamin Halligan Keywords: aura, intimacy, kissing, authenticity, liveness, social media, spectacle, Miley Cyrus, Katy Perry, Terry Richardson, Peter Gabriel Abstract: The arena concert requires a particular type of liveness of performance in order to transcend impersonal mass entertainment. Liveness here looks to authenticity and happenstance, privileges personal communications and seeks to live in the moment, and in this way the live performance then meets and matches or even surpasses the virtual life of the artist or group. The concert must be both mass spectacle and an individual and singular experience for those witnessing and participating in it. Without these latter essential attributes, which can be read as the auratic and authentic replacing the virtual, the arena concert falls short of ontological expectations of live music. In recent years the mise-en-scène of the arena concert has become calibrated to female artists with, seemingly, a concomitant feminisation of the event. In this, the space is often given over to intimacy, empathy, and presented as an insight into the life, and even philosophy, of the performer. -
PRESS RELEASE Contact: Becky Biegelsen (858) 228-3092 | [email protected]
PRESS RELEASE Contact: Becky Biegelsen (858) 228-3092 | [email protected] LA JOLLA PLAYHOUSE ANNOUNCES CAST AND CREATIVE TEAM FOR WORLD PREMIERE OF PUT YOUR HOUSE IN ORDER PLAYHOUSE KICKS OFF 2019/2020 SEASON WITH NEW WORK BY ACCLAIMED CHICAGO PLAYWRIGHT IKE HOLTER La Jolla, CA – La Jolla Playhouse announces the cast and creative team for its world-premiere production of Put Your House in Order, by acclaimed Chicago playwright Ike Holter (Lottery Day), directed by Lili-Anne Brown. The show kicks off the Playhouse’s 2019/2020 season, running in the Playhouse’s Mandell Weiss Forum June 2 – 30 (press opening: Saturday, June 8 at 8:00pm). The cast features Behzad Dabu (TV’s How to Get Away with Murder) as “Rolan,” local actress Linda Libby as “Josephine” and Shannon Matesky as “Caroline.” The creative team includes Arnel Sancianco, Scenic Designer; David Israel Reynoso (Playhouse’s Queens, Waking La Llorona, and many others), Costume Designer; Amanda Zieve, Lighting Designer; Victoria Deiorio, Sound Designer; Steve Rankin (Playhouse’s SUMMER: The Donna Summer Musical, Jersey Boys, and many others), Fight Director; Gabriel Greene, Dramaturg; Phyllis Schuringa, Casting; and Marie Jahelka, Stage Manager. “Rising Chicago playwright Ike Holter has created a funny yet suspenseful, genre-bending piece that I’ve never seen on stage – a play that had me laughing out loud and made the hair stand up on the back of my neck. I can’t think of a better way to launch our new season,” said Playhouse Artistic Director Christopher Ashley. In Put Your House in Order, Caroline and Rolan’s first date begins as a pretty average night that ends at her house in an upscale Chicago suburb.